The readymade entertainment to grace any Wickerman like pagan ritual or meeting of The Monster Club, The Spider Hole unveil a new carnival of dark deeds and imagination prowling adventures under the guise of To the Monsters. The band casts the listener into the heart of gothic tales and creature stalked escapades across the album’s eleven frightmares, each as compelling and arousing as another and all leaving these ears lustfully desperate for plenty more such devilish trespasses.
Hailing out of Phoenix, Arizona, The Spider Hole create a unique and fascinating sound which beguiled as it surprised with its inherent unpredictability within a voracious rock ‘n’ roll heart across To The Monsters. Inspirations to the band are said to include the likes of Tom Waits, Oingo Boingo, Siouxsie and the Banshees, Primus, The Pixies, Frank Zappa, and The Doors; some of which can be openly sensed within the lure of songs. To that we would suggest there are essences that remind of bands such as Helldorado, The Men That Will Not Be Blamed For Nothing, and even more so at times Th’ Legendary Shack Shakers but all spices in a proposition fiercely individual to The Spider Hole.
A mere breath was all it took for our ears and imagination to be coaxed into life as opener Werewolf Biker Bastard cast swarthy sighs of guitar, Kilen continuing to entice with strands of melodic intimation as the growl of vocalist Ethan Scott began its dark narrative. Keys add to the prelude of the adventure before things erupt into a tenacious stroll with its own eager swagger. Sweltering psych springs colour the climate of intimation as bold rhythms continue to prowl amidst the infectious landscape of suggestion and animation.
The outstanding start to the album is in many ways just an appetiser to things to come, each song setting out its own individual web of craft, magnetism, and dark endeavour as epitomised by next up Still Draw Breath, a slab of primal yet deviously designed rock ‘n’ roll with a blues lining to its rise through dank cold earth. The bass of XerXes Quinn is again a predatory lure easy to succumb to as equally the biting incitement of drummer Bobby Blades; the body secured in their trap as guitar and vocals take care of the imagination with their individual tales. With a Misfits-esque draw to its holler, the track just steals self-control like a puppeteer, bones jerking to his incitement as vocal chords eagerly joined with Scott in the track’s voracious carousing.
Hungover at the Eel God Festival is a far calmer yet almost predacious proposition and it too left body and throat subservient to the thick web of temptation it casts with unscrupulous craft. There is menace in its heart and air to equal the seduction in its sound and stomp, band and album continuing to lead us on a salacious dance before Rock, Your Body sprung its own skilful scheming across a pop fuelled, virulently contagious rock ‘n’ roll saunter. An element of enterprise and contagiousness reminding a touch of Black Space Raiders on their last couple of albums only adds to the increasingly raucous and thrilling emprise of sound and manipulation.
The glorious fevered ballad of Chomp-Chomp is next to ignite the senses and passions, its calling swiftly becoming a boisterous blend of fifties inspired rock ‘n’ roll and Rocky Horror theatre and simply inescapably addictive while The Goat Witch of Cornman Road commands the same rich attention with matching prowess through its crepuscular serenade woven upon a skeleton of big rhythms coated in vocal passion and bound in the sonic and melodic intimation escaping guitar and keys. Both songs simply bewitched though they are still slightly eclipsed by the mighty cavort of The Leviathan Stomp. Bestial yet agile in its dynamics and twists, the track as to be honest all, simply had us gripped in its temptation soaked hands.
The cinematic fears of Devil By a Nail initiate a lively shuffle of funk and psych rock eagerness next, the song casting its own Machiavellian enterprise to enslave ears and involvement before The People Who Come Out of the Ceiling creeps into the psyche where it seduces with a tantalising and mesmeric croon with volatility in dark heart. At certain moments Scott’s ever riveting presence and tones are joined by the delicious lure of female vocals though we cannot give a name to their siren whilst in sound the song simply stalks and prowls with rapacious desire; it all together uniting for our favourite moment within the album.
Night of the Nighty-Night Slasher completes the plethora of ghastly tales, its blood strewn romp a tempestuous roar of Ripper like goodness bringing To The Monsters to a mighty and ravenously rousing close.
There are times when we are truly bowled over and lustfully devour the exploitation of our inherent weakness for rabidly inventive but organically hearted rock ‘n’ roll however it is designed and To The Monsters stamps down one of those; an instinctive love of creepy tales and horror fuelled rascality only added extra icing on the pleasure The Spider Hole has undoubtedly unleashed.
To the Monsters is out now across most stores.
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Pete RingMaster 11/07/2019
Copyright RingMaster: MyFreeCopyright
The spirited rhythms of drummer Phil Joyce kick EP opener Pretty Little Features into life, their increasingly tenacious antics luring ears, appetite, and the guitar jangle of Luke Fraser. Swiftly his vocals also jump in, the track bouncing round with its fifties rock ‘n’ roll scented jazz punk. With a touch of eighties band The Stargazers to it and also the jump blues hues of a Louis Jordan, the song leaps and swings, successfully insisting on the same from the listener. Punk riffs taunt throughout as the flames of Nick Smith’s Trombone unite with the sax of Oscar Ives-Owen; each adding to the virulent contagion of an outstanding start to the release.
It is an outstanding start reinforced by the senses transfixing tale of The Ghost of Rab McVie. Strings and their electronic counterparts quickly infest the imagination, the first from the suggestive touch and craft of Susannah Clark. Metcalfe is soon within their descriptive midst, voice similarly nurturing thoughts as the song leads the listener into its melancholic heart. There is a beauty to it though which just seduces ears and imagination but with an earthiness keeping the dark surroundings fully in view before the album’s title track provides the gateway into a nefarious journey. Feeling like being trapped in a Celtic Wickerman driven nightmare, the song simultaneously overwhelms, indeed suffocates, and seduces all with increasing intensity. It is quite superb with the craft of Clark simply irresistible.
The opener remains the pinnacle of the release but is seriously harassed throughout with next up Young Blood needing little time to seduce and pervert ears and imagination. Ravishing the senses like a defiled fusion of Rob Zombie, Arthur Brown, and The Stooges, the track is wired rock ‘n’ roll as off-kilter as it is skilfully woven to invade and trespass the psyche. Deceptively catchy it is aural loco, a ruinous psych rock invasion infecting the listener like radiation.
The robustly stirring encounter is followed by The Revelation, an even more imposingly catchy enticement body and vocal chords alone fall before in swift time. Co-written with Ben Christo, long-serving guitarist with The Sisters of Mercy, the track roams with a predacious intent, its creative indoctrination built on waves of persistence honed into thought provoking, body twisting primal seduction. With an additional Ministry-esque nagging around glimpses of cinematic theatre, the song is pure devil spawn scheming, Watts the insidious engineer.
I’m Not The One comes next, its cowpunk flavouring another easy to embrace temptation and the spicy lining to the track’s contagious swing before the album’s title track brings a dirtier, grittier slab of rock ‘n’ roll to the party. Both tracks hit the spot dead centre, the second with a tone reminding of The Peacocks but equally each is overshadowed by the rousing rumble and incitement of Losing The Fight. With anthemic rhythms alone stoking up feverish fires, the song ensnares eager ears and appetite, treating both to a mesh of sultry melodies over relentlessly catchy rhythms.
The EP’s title track is first up, its homage to cult movie gem Evil Dead pure invasive theatre. From its initial piano cursed fingering of the imagination, the track twists into a predacious stroll with infection seeping from every pore. Swinging beats and a heavy rapacious bassline courts the senses whilst a seductively nagging hook teases, Firewalker barging in with his vocal roar as raucously backed by the vociferous tones of Phillips. Dragging the listener into its transfixing hellbound realm prone to caustic expulsions, harrying them with a gloriously plodding prowl, the track reveals itself as raw virulence cast in something approaching The Cramps meeting Th’ legendary Shack Shakers as The Orson Family add their incestuous lures ultimately emerging as a depraved invasion all of the band’s making.